Athens Concert Hall, 4-6 November 2003
In the opening movement of his cantata no. 110 Bach uses the parody technique by adding a four-part chorus to the existing fast section of the Ouverture for orchestra no. 4 (BWV 1069). The distribution of the text serves at the same time as an analysis of the form of the movement, which belongs to the type of concerto-fugue. In general, the analysis confirms the self-evident formal plan, but it clarifies the composerís thinking in the central section, which has created problems for modern researchers. These problems are connected with the fact that a number of 20th century musicologists prefer to operate in formal analyses with terms of compositional technique or harmony rather than with strictly formal categories. This displacement of the object of analysis can lead to a change in historical perspective.